Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Morocco and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1979.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Altered Images to the dance kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Trojans. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Camberwell Now,
Youth Brigade,
Eurythmics,
Ossler,
Cecil Taylor,
X-Ray Spex,
Public Image Ltd.,
Todd Terry,
Dave Gahan,
Duran Duran,
It's A Beautiful Day,
The Jesus and Mary Chain,
Slick Rick,
Masters at Work,
Hot Snakes,
Roxette,
Strawberry Alarm Clock,
Alice Coltrane,
H. Thieme,
Black Bananas,
Jacques Brel,
The Five Americans,
John Holt,
Röyhkä ja Rättö ja Lehtisalo,
The Velvet Underground,
Flamin' Groovies,
Niagra,
The Doors,
the Bar-Kays,
The Sonics,
Barbara Tucker,
Magazine,
The Pop Group,
Television,
Ultramagnetic MC's,
Model 500,
Archie Shepp,
Gang Starr,
Joy Division,
Oblivians,
Carl Craig,
The Music Machine,
Sunsets and Hearts,
Suicide,
Johnny Osbourne,
F. McDonald,
Roxy Music,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Circle Jerks,
Panda Bear,
Black Pus,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Albert Ayler,
Harpers Bizarre,
The Divine Comedy,
Echospace,
Reuben Wilson,
Crime,
Art Ensemble Of Chicago,
Au Pairs,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.